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Buy both the CD and a CD backup copy
MusicStack has partnered with a vinyl to CD conversion service who will convert the CD to recordable CD for you. It will sound great with no annoying clicks, pops or background noise. All recordable CDs come in a standard jewel case with artwork printed on glossy paper.
How does this service work?
The seller will ship the CD to the digital conversion center in Arizona, USA where it will be format shifted onto a recordable CD directly from the CD only for your ears. The CD and the recordable CD will then be mailed to you. The digital conversion center will not retain any copies of the item.
What does it cost?
Price of the CD + 0 conversion to recordable CD + cost of shipping of the CD to Arizona + cost of shipping of the CD from Arizona to your location paid in advance.
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| Format: | | CD |
| Condition: | | NEW More Info |
| Label: | | Sub Rosa SR240 |
| Released: | | 2005 |
| Genre: | | Contemporary Music / Experimental |
| Quantity: | | 1 in stock |
| Seller Ref: | | 51643 |
Following Faux-Jumeaux (CD released on Tzadik), where I developed the auto-sampling process (composing a piece of music using only samples of the instruments appearing in that piece of music) around the concept of the double or replica, I chose with Circulations to push the same method much further by approaching it from a more pragmatic angle. The performance falls halfway between mixed concert music (referenced by the instrument + tape device) and live electronics. Even though the musicians never actually play together, they are nonetheless virtually brought together by the presence of the tape, which blends and fuses their instrumental sounds as a whole. By putting side by side in a near-didactical way several compositional stages, two types of writings ('abstract' and 'concrete'), this process invites from the listener a cross-reading of the work, matching each instrumental part to its electronic evolution: a sequence of vibraphone arpeggios elsewhere becomes a click'n'cut gimmick, a guitar melody transforms into an ambient loop, and a sustained note on the bass clarinet gives birth to a rumbling in the subfrequency range. So many potentialities comprised in the abstractly written material, but also in the accidents of its recording, its 'mise en son.'If this correspondence is not entirely rigorous, it is to leave enough room for the endlessly stretchable feedback interplay - or circulation - between abstract and concrete. This album represents one moment in the mutation generated by this movement.' (Pierre-Yves Macé)
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